Sep 292015

Spheric Music presents:

Schroeder, Robert

Dream Access

(Spheric Music SMCD 2034)

Laufzeit/duration: 58 min


1. Dream Access    5:47
2. SpacePort    8:36
3. Brain Drain    7:36
4. Imagination    4:08
5. Friction Of Time    10:11
6. Solar Streams    8:15
7. Time Axis    6:17
8. Floating In Dreams    6:50

10 years Robert Schroeder on Spheric Music

This year, the German EM artist Robert Schroeder is able to look back to now exactly 10 years of cooperation with the German Electronic label Spheric Music (Lambert Ringlage). With regard to that Robert tells: “After these 10 years I am especially very happy to made the decision to work with Lambert Ringlage in 2005.

Spheric Music is small but perfectly formed. Thank you Lambert.”

So Robert released his new album Dream Access as now the 20th CD on Spheric Music and the 34th solo CD ever.

Here are Lambert’s personal impressions: “I like some titles very much, a true bath in sound and music, beautiful melodies fit to wonderful moods, some experimental, from which melody and sequences emerge again, beautiful tom fills, many atmospheres and lots of reverb. This time Robert has added some extraordinary sounds and exciting elements into his work, which let the beautiful long dream phases come into play wonderfully. A varying and well done album.”

Robert himself appreciates the sequencer work and the exquisite solos on his new CD. Robert: “My aim was: Revive the exploring and developing phase of Electronic Music. I guess by Dream Access I got some more closer to that aim. I like the sound and the atmosphere of EM from the 70s and 80s. But of course I still develop further (just listen to the several CDs).”

Robert Schroeder / DREAM ACCESS

Sep 292015



​Snowthorn is the long awaited debut album from Mike Connelly (Wolf Eyes / Hair Police) and his wife, Tara, recording together as Clay Rendering.​
Perhaps the most compelling of all the many projects started by one-time members of Wolf EyesClay Rendering came to life in 2013 and have since released a trio of singles for Hospital Productions that have gained them the admiration of followers spanning both electronic and metal communities.
Their material occupies unique terrain, recalling The Cure’s widescreen Disintegration-era instrumentals, cut through with a Black Metal palette and an appreciation of electronic music that imbues their production (notably assisted by Dominick Fernow) with an end-of-world quality that’s impossible to pin down. Evoking Nine Inch Nails one moment, you find yourself in a smoke-filled, strobe-lit Road House the next; bleary-eyed, head spinning, coming down.
Guitar, Accordion, Piano and electronics underpin these songs, opening with the whirling death march of ‘Maps on The Floor’ and the funereal trudge of “Swallow The Century” before the grinding fuzz of “Sight From Up There” changes pace with the addition of a forlorn piano melody and Becka Diamond’s distant vocal zooming in on half-remembered songs, rendered here with hazy definition.
“Fall Of The Bed” and “Memory Loses Momentum” find Clay Rendering at their most visceral and catchy; a reminder that they are first and foremost a band that write incredible songs, often submerged in fuzz and atmosphere, but here left exposed, bare, on display.
And yet the title track “Snowthorn”, “River Without” and the incredible album closer “Night To Perish” edge the album from the bleak and into the sublime, turning away from the snowy landscapes their music so often evokes, instead pulling you deep into night…
• Additional production by Dominick Fernow, additional vocals by Becka Diamond
• Mastered by Paul Corley, cut at D&M, Berlin
• A delicate yet uncompromising set of songs drifting somewhere between Gothic, Ambient, Black Metal and Dream Pop.
WATCH: Clay Rendering – Snowthorn (album trailer)

Clay Rendering
Hospital Productions

1. Maps on the Floor
2. Swallow the Century
3. Sight From Up Here
4. Snowthorn
5. River Without
6. Fall Off the Bed
7. Patient Days
8. Memory Loses Momentum
9. Night to Perish
Sep 292015



Continuing his work with memory not only as a subject but also as a process, Michael Anderson has culled many of the sounds on this record from the past. But this is not a record of rehashed material or remixes. Rather, DREKKA‘s music is made through continually delving into an archive, digging up and repurposing old recordings, live performances, and forgotten snippets of the voices of out-of-touch friends.

Anderson often begins his live performances subtly, with smoldering ambiences and sublime waves, a practice which functions both as soundcheck and prelude. In this case, a sonic formation used to bridge two sets performed one night in Taranto, Italy, has been revisited and reshaped into “The Seventh Continent (Oceanic Waves Wave).” It is a work of evocative and emotive sound art, assembled textures created from manipulated voices. The piece owes as much to NURSE WITH WOUND as it does to MICHAEL HANEKE, whose influence is paid homage through the title. Anderson indeed plays the role of the auteur here, his own voice manipulated and intertwined with the voices of unwitting collaborators, unwitting at least in the moment. They are voices from his archive of cassettes and field recordings. Annelies Monseré makes an appearance from Gent, Belgium, many months or years earlier and many miles away.

“The Work in Question is Unbeknownst to The Participants at Hand (in three sections)” reaches even further back, through years of sound. The details of locations, methods, and even participants are hazy (Tyler Damon, Sarah Dunevant, Mark Trecka are among the certainly present) and in some cases completely lost (anonymous, obscured entirely). The sounds of a forgotten recording session from the mid-90s are counted among the sources here. Anderson’s deft hand has collated and juxtaposed strands of narratives from across two decades into this haunted drone. Like TARKOVSKY’s “The Mirror”, it is an assemblage of memories, at times dissonant. But like the work of TIM HECKER, this is music that is warm and hospitable and in some sense ultimately soothing.

Working under the name DREKKA since 1996, Anderson has released dozens of cassettes, CDs, and LPs on both his own Bluesanct label and many other labels internationally. He has traveled, collaborated, and relocated; collecting memories and building an very personal archive of corresponding sound. Tours throughout Iceland and Europe and the United States have contributed to that archive as much as they have served as platforms for public performance. DREKKA owes something to the soundscapes and non-linear impressionism of CINDYTALK or COIL, the gravity of EINSTÜRZENDE NEUBAUTEN. But his work is very apparently unique. Throughout years of performing and recording, Drekka has explored early industrial tape culture, fragile bedroom noise folk, and expansive cinematic textures. He has touched on the themes of silence and memory and noise and forgetfulness. In the past decade, his gorgeous sound sculptures have fit more neatly into the industrial noise and ambient genres, holding a place alongside contemporaries like SVARTE GREINER, TIM HECKER, or WILLIAM FOWLER COLLINS. And yet these pieces are very evidently personal. Rather than the obscurity that is so often the effect of experimental music, DREKKA functions as a direct line into Anderson’s mind, his dreams, and his fragile and tenuous cache of memories. These personal aspects and this fragility are even more clearly on display than if they were obfuscated by poetic abstractions.

While “haunting” and “hypnogogic” are words often used to describe experimental music and art, DREKKA unequivocally occupies and deals in those dark spaces which comprise the tenuous province of memory and dreams. Those are the real ghosts of time and sound.

“Unbeknownst to the Participants at Hand” is Drekka’s second offering in a trilogy of full-length releases on Dais Records. This second volume will be pressed in a limited edition pressing of 500 copies.

LISTEN: Drekka – Unbeknownst To The Participants At Hand

Unbeknownst To The Participants At Hand
Dais Records

01. The Seventh Continent (Oceanic Waves Wave)
02. The Work In Question Is Unbeknownst To The Participants At Hand (Part I)
03. The Work In Question Is Unbeknownst To The Participants At Hand (Part II)
04. The Work In Question Is Unbeknownst To The Participants At Hand (Part III)

Sep 292015


Celluloide new single Le Baiser Géométrique (from the Art Plastique album), is out today with a brand new video clip.

The digital single for Le Baiser Géométrique contains remixes by PolynomiQ, TourdeForce, Cyborgdrive and a special 9 minute extra long new version of the title track.Coming along with this new single, a hand-numbered 300-copy limited edition gathering the previous single L’amour Est Clair and Le Baiser Géométrique, called “L’Amour Est Géométrique”.

This 11 track CD includes exclusive new versions, exclusive covers of Bel Canto, Résistance and Erik Satie, plus exclusive remixes by Orange Sector, Opéra Multi Steel and Missing Square.

Get the CD at special price  from our online shop today!.